If you reach for the stars, all you get are the stars, but The Suburban Players of St. Demetrios have found a whole new spin! They have reached for the heavens— and they got the stars thrown in! Their current production of Mary Poppins is heartwarming, impressive, loaded with love and with talent, and above all it’s— Supercalifragilisticexpialidocious! That fantastical nonsense word which means great joy, fantabulosity, and all things wonderfully excellent! Produced by Smaro Cook & Tom Cook Jr., this production of Mary Poppins will fly straight into your heart, give you a giddy feeling that will send you soaring over the rooftops, and add that practically perfect spoonful of sugar to your theatrical endeavors, making you wish that you could see it over and over again! Directed by Lauren Spencer-Harris, with Musical Direction by Steven Soltow, and Choreography by Kristin Rigsby, Katie Sheldon, and Gary Dieter, this truly magical tale is one for the books!
With a magnificent and truly magical set, Designed by Technical Director and Set Master Pete Beleos, No.17 Cherry Tree Lane and all of its components simply pop to life before your eyes— just like magic. There’s everything from the kitchen to the nursery (both on wheels set against the impressive two-story interior of The Banks’ household) which are accompanied by all of their own unique, magical elements. Lead Scenic Artist Bruce Holder and his team (Georgia Economakis & Michael Fellner) add that dazzling layer of wonder to the set with a gorgeous painted backdrop for the park as well. Beleos works in tandem with Director Lauren Spencer-Harris and Angelo Kokkinakos to craft the show’s lighting design, which includes a lot of fun effects for many of the numbers in the second act. The entire production team just enchants the stage, every opportunity they get, bringing a marvelous and magical experience right out into the house all throughout the performance! It’s spit-spot and practically perfect!
Director Lauren Spencer-Harris, as woven a theatrical masterpiece with her creative ingenuity, retooling Mary Poppins in subtle ways— just enough to mark the production in its own special way. Spencer-Harris understands the fine-line of individuality and remaining true to the original narrative and balances that line with exacting precision while maintaining the iconic characters and musical numbers and yet still giving this production a unique and wonderfully individual heartbeat that could only be fulfilled by The St. Demetrios’ Suburban Players. Spencer-Harris is also a brilliant storyteller. It’s one thing to take classic, beloved Disney characters and present them in a most memorable and iconic fashion, it takes a true master of theatrical understanding to give them depth, to give them guided moments in which to develop their character arc and truly expand the story. Spencer-Harris possesses that ability and utilizes it frequently throughout the performance.
There are little moments all throughout the production— watch closely, some of them are truly beautiful but very subtle— where a character will share a look with another character or share a quick gesture-based interactions, and a deep level of connection is made. There are other, grander moments where the story comes bubbling out of the performers— physically spilling its way into the audience, as Spencer-Harris has chosen to give this production of Mary Poppins a more immersive feel. The audience becomes the members of the park, becomes the stars in the heavens, as various ensemble members take up their places amid the theatergoers, singing and dancing in the house to create that beautiful illusion of theatrical inclusion for those of us on the ‘watching’ side. Spencer-Harris has crafted unique relationships for the characters, particularly Mary and Bert, giving them a timelessness to their existence, which lends itself fully to the notion of the magic that they both bring to the tale. And she’s found a wonderful cast filled with talented folks, everyone from the starring principals right down to the tiniest ensemble members, everyone boisterously and joyously filling out group numbers with excitement, enthusiasm, and powerful heart.
Stitched together through with the magical threads of song and music, Musical Director Steven Soltow, who sits front and center conducting the live orchestra (Soltow on piano, Daniel Czyz on percussion, Alex Thanicatt on bass, Jarrett Rettman on keyboard, Bailey Dicus on cello, Dawn Zipay on horn, Emily Green on flute/piccolo, Morgan Scholtes on clarinet/bass clarinet, Alex Perloth on trumpet, Connor Mathers on trombone) and balancing that live sound to keep from overbearing and overwhelming the performers on stage. This is a tricky process, one that Soltow has honed to a practically perfect execution, as the pit is uncovered and sat just in front of the stage on the floor level of the auditorium. The musicians sound professional, the orchestrations are superbly delivered in their talented hands and Soltow runs a tight ship, keeping the music on track, balanced and level throughout the production.
With a show like Mary Poppins one certainly expects magic. And The St. Demetrios’ Suburban Players delivers on that in spades (there’s even an opportunity for children and children at heart to engage in the magic by purchasing ‘star-lights’ to use during the second act!) And no place more fully than all throughout the show’s dance routines. Choreographer Kristin Rigsby sets the performers in motion all throughout the performance; Dance Captain Erin Acerno (doubling in the roles of Valentine and Neleus, in addition to her roles in the ensemble) leads the group through all sorts of fun routines, particularly during “Jolly Holiday” which features in-audience dancing, and again during “Playing the Game”, where the zombie-toy-shuffle becomes the creepiest thing ever seen on stage.
Rigsby knows when to play to her strengths and when to let the seasoned veterans take control; Baltimore’s King of Tap, Gary Dieter, has provided sensational choreography for “Step In Time”, which even features a nod to St. Demetrios with a spinning linked-arm circle where the performers shout ‘opa!’ “Step In Time” and “Supercalifragilisticexpialidocious” become two of the most impressive songs choregraphed in this show, with the former featuring all sorts of fancy footwork, including a semi-tap-off between Bert and Mary (if you’ve got Baltimore’s Tap King & Tap Queen in the roles, it would be foolish not to!) and latter having an intricate series of gesture-moves and jumps, guided by three-time-Poppins-player Katie Sheldon, into exuberant existence for everyone in the show (as the number gets semi-remounted for the curtain call.) You even get this wild sense of all the performers being blown about (great physicality— it’s like their hips and waists are on swivel hinges!) by the ‘enchanted winds of change’ that follow Mary Poppins wherever she goes, just at the top of this number. There’s just fun, joy, and enthusiasm gushing out of both of these numbers, and really, out of all the numbers, making the choreography-efforts of Rigsby, Sheldon, Dieter, and dance captain Erin Acerno, really shine.
Of course one brings a variety of expectations to community theatre when it comes to any production that involves extraordinary theatrical magic. And while St. Demetrios’ Suburban Players has the strongest sense of community, truly engaging as one, tirelessly-working family, they pull out all the stops when it comes to crafting wonder— particularly in the ‘flight’ department. Paul Rubin of The Fly Guy Productions crafts such a fun component for Bert to go ‘soaring’ above the chimney stacks in “Over The Rooftops” it’s just magnificent. And when Mary takes flight— the audience is just stunned. Rubin’s work is perfectly fitted for this production and really adds that bonus component of awesomeness to the show.
Fulfilling Director Lauren Spencer-Harris’ vision of a more immersive Mary Poppins, you have a powerhouse ensemble chock-a-block with talent. There’s the children’s ensemble (Pandora Agapaloglou, Sophia Libertini, Sofia Martsoukos, Elliana Papathakis, Gracie Roberts, Colton Roberts, Charles Ruhling V,) as well as an adult ensemble (Evelyn Acerno, Maeve Acerno, Nora Acerno, Lans Alexis, Sandra Alexis, Mike DeNicolis, Camryn Hagy, Archie Kramer, Debbie Martin, Grace Petrich, Myles Taylor.) As well as many other adults who are given feature-cameo-style roles all throughout the performance. Every single person on stage— be they the adorable of five or the ripe old age of 105*— is singing, dancing, laughing, and just living presently in the moment. It’s truly glorious. You get Admiral Boom (Basil Lambros) and Miss Lark (Erika Shook) who have their lovely little moments encountering one another in the park, where Erika Shook does a fine job of bringing her ‘dog’ Willoughby to life. You have the blustering Chuck Hamrick doubling up as Park Keeper and as the Bank Chairman, with a deep booming voice to sing out the Chairman’s lines just right.
Bursting like a ray of sunshine, which is as bright as her patchwork dress in shades of buttercup, mustard, oranges, and dandelions (shout out to the mysterious “The Costumer” and Tom & Smaro Cook) Cat Kohlbus as Mrs. Corry is a barrel of fun all throughout the “Talking Shop” scene which leads into “Supercalifragilisticexpialidocious.” She has great vocals that add something invigorating to this already bubbly and explosively delightful number. You have the delightfully pleasant Erin Acerno who shines as the hopeful Neleus during “Jolly Holiday” but showcases her versatility becoming a disturbing clown-doll-come-to-life, as Valentine, during “Playing The Game.” Both roles showcase Acerno’s dancing talents, and give the audience a chance to experience her in a pleasant and friendly role as well as a miserable and frightening one. Keep your eyes out for the polar opposite paring of Mr. Northbrook (at this performance Lans Alexis) and Herr Von Hussler (Michael Maistros) as they attempt to show George Banks, and the children, the difference between a good man and a good idea.
Tackling one of the quirkier cameo roles is Holly Ruhling as Mrs. Brill. While the household cook doesn’t have any huge solo numbers, per se, you get to hear her boisterous voice bouncing along during various renditions of “Cherry Tree Lane.” She’s plucky and has her comic timing, much of which is played off of Robertson Ay (at this performance Ryan Bordenski), solidly in hand. Her accent is quite humous as well. Bordenski, who you would never know jumped into the role just 24 hours before opening night, has mastered that awkward nervousness that accompanies the poor belittled house-servant, who is constantly trailing behind Mrs. Brill and being barked at, early on, by the Banks’ children. Bordenski finds great comedy in his physical expressions, particularly when being told off about “the family heirloom” and during the whole “kitchen calamity” of “Spoonful of Sugar.” Keep an ear out of his impressive vocals in this number as well.
Another underrated character in the Poppins catalog is the Bird Woman (Misti Hagy) who only exists on the steps of the cathedral momentarily for her two solo features of “Feed the Birds” and its reprise. Hagy has a simple tonal quality that allows this tune to sparkle resplendently all on its own. It’s a tragically beautiful number and Hagy does it justice. What’s more is in Spencer-Harris’ vision of Mary Poppins, Hagy embodies this sense of universal charity; the ensemble all pass her by, putting coins in her cup to feed the birds— delivering this notion of community, family, and togetherness (which is ultimately at the core of both this show and The Suburban Players) – that everyone can and should do what they can to help others and those in need. It becomes a truly heartwarming moment— the line leading in, after the children call her a dirty old bundle of rags, or something to that effect, and Mary Poppins says something along the lines of “when will you learn to look beyond what you see.” And then you see this processional of people flocking to her to help; it’s a striking and powerful, truly touching moment.
Hagy has the second-best age makeup in the production, making her look grizzled and frayed, appropriate for the character. Tammy Oppel as the holy terror, Miss Andrew, has the best ‘aged-makeup’ in the show. Looking every bit the harried harridan that the character is talked up to be, when Oppel arrives she’s channeling classic Disney villainess, complete with severe facial features (accentuated by that fabulous makeup) and maniacally over-the-top gestures. And when she launches into “Brimstone & Treacle” it’s quite frightening (as it’s supposed to be!) The airs of the strict harpy come thundering out of Oppel with every step she takes. Her facial expressions are nothing short of a Cruella DeVil style expressive and her overall physicality with the character is masterfully malicious. And when she duel-blasts off with Mary Poppins during “Brimstone and Treacle (Part 2)” it becomes a vocal showdown of the searing sopranos.
Wanted: a nanny for two adorable children— Jane (Bella Comotto) and Michael (Elijah Tsakalos) Banks. Comotto and Tsakalos are indeed adorable, even if their characters start off as nefarious little monsters who terrorize the household and chase away every single nanny! Tsakalos is adorably precious, particularly when piping in his character’s two-cents. He sings well, carries his character with confidence, and you can see how readily he wants to change his way. Tsakalos plays exceptionally well off of Bella Comotto, filling out the role of younger brother (even if they are practically the same height) with a brilliant flare! Comotto is serving pure resting-brat-face for a good deal of the early part of the performance. Her facial expressions are insanely animated and you feel those biting remarks that stun like icy daggers whenever her character starts shooting off at the mouth. Comotto is effervescent like an electric-shock after you shuffle across the carpet on a cold, dry winter’s morning. So it’s fascinating to watch the way she handles the Jane Banks’ character transformation as the show progresses. With a solid voice that carries along with the precision and practice of that of an adult vocalist, Comotto is the perfect pick for the role of Jane, and her footwork is impressive too, when hopping, flinging and kicking all about during various dance routines. Tsakalos and Comotto get ‘caught up’ in the spells from time to time too, both having their bodies fully engaged with the magic, whether it’s being shoved around the stage by an enchanted broom, dropping flat into forced-sleep in the nursery beds, or being whisked up the chimney in a twirling whirl of happy chaos. The pair, like so many portions of this production, are practically perfect. And when they sing their advertisement duet, “The Perfect Nanny” it is simply delightful.
Being Mr. and Mrs. Banks (Jim Gross and Suzi Eldridge, respectively) is no easy task. They are more than just the parental figures inside of the Mary Poppins narrative, and both Gross and Eldridge have done a superb job of proving this to be true. Jim Gross embodies the pompous, restricted, aloof patriarch— self-proclaimed sovereign— with gusto, but tempers a great deal of all that barking and bombastic expression with an ever-present, albeit subtle, undercurrent of humanity. There is a rawness, a realness, to what Gross is bringing to the character, so that when Mr. George Banks, finally transforms near the show’s conclusion, it feels authentic, as if it’s been there all along just waiting for the right spoon of sugar to help it break out. Gross has a strong, well-toned voice which lends itself readily to numbers like “A Man Has Dreams.” Given the animated nature of Gross’ facial expressions— how truly eye-popping and mustache-bristling they are— one might easily think that Bella Comotto, as Jane Banks, is his real-life daughter (they are not related, but both have passionately invested facial expressivity, really amping up the experience of both of these characters.) Gross has also found a few truly tender and touching moments (as well as a comic one here and there) that brings the character of George Banks an extra layer of life.
The same can be said for Suzi Eldridge in the role of Mrs. Banks. Her vocals are well suited for all of the meager matriarch’s numbers particularly “Being Mrs. Banks” on the first go-round. But you find a strong-willed independence that Eldridge brings to the character, really bursting out during “Being Mrs. Banks (Reprise)”, which transforms that number into a bold and blazing torch song, rather than just a flip-moment where she makes a decision. Eldridge delivers maternal realism when engaging with the children, even when she’s cross with them, and comes into her own as a proud, strong woman by the time the show concludes. She’s a great vocal asset and marvelous addition to “Spoonful of Sugar” as well.
Vivacity, liveliness, and utter joy for the moment in which he’s living has never been delivered more purely than it is with Gary Dieter in the role of Bert. As the show’s subtly-sneaky-narrator, Dieter just hypnotizes you and draws you in, like any good storyteller should. Fleet of foot, quirky of character, and robustly beautiful of voice, Dieter is a magic all his own, paying homage to Dick Van Dyke and making Bert the jack-of-all-trades a truly unique entity. His charismatic companionship with Mary Poppins is charming and delightful, and his voice is gorgeous. He’s humorous, engaging, and invites the audience to travel this enchanted pathway with him from start to finish. Watch him play all during “Supercalifragilisticexpialidocious”, trying to keep up with Mary and all her hand-gestures. Watch him dance his heart out, in a tap-routine second to none during “Step In Time”, and marvel at the grace and ease with which he floats over the rooftops— ‘hopping on chimney bristles’ to do so. There is something indescribably real about the way Dieter encapsulated Bert; he makes the character both real and imaginary at the same time, making him just as magical as Mary Poppins herself. When he starts crooning through “Jolly Holiday” you feel your heart swell with that grand giddiness that just can’t be beat. And when he encourages the children to fly a kite and starts singing during “Let’s Go Fly a Kite” you get unadulterated joy radiating out of his voice, his face, his entire being. It’s truly remarkable. And there’s no finer individual to be had for this role.
Seasoned champion of the umbrella-flown skies, Katie Sheldon returns to the enchanted carpet-bag and parrot-head umbrella for a third time, bringing with her a wondrous vocal sound, a perfect balance of cheeky snark and kind compassion, and of course— all of the practically perfect magic one expects from Mary Poppins. Playing off of Gary Dieter and all of his theatrical vivacity only serves to further enchant Sheldon’s magic. They are sensationally stellar together. Sheldon, who strides onto the stage…or flies off of it… in the iconic navy, black, bright blue, and red nanny coats, will easily have any and every audience member believing that she is Mary Poppins. Her vocal sustains in those high-soprano ranges are extraordinary. And the felicitous glee that she imports to “Jolly Holiday” and “Supercalifragilisticexpialidocious” are contagious; everyone suddenly wants to sing and dance and clap along. Sheldon’s Poppins is an inspiration to musical theatre; she finds the balance between the snarky moments— the “stand-your-ground” moments (particularly when facing off with Miss Andrew) and the compassionate moments; you get a real sense of emotional understanding from her performance. “Spoonful of Sugar” is delivered with syrupy sweetness and yet a lighter than air happiness that just drifts through the song as she sings it. Sheldon’s “Practically Perfect” is exactly that as she flounces around the Banks’ nursery, introducing her character to the children and the audience. Watch carefully for those tender moments of eternal friendship and companionship that she shares with Bert. They bring a joyful tear to the eye.
So don’t be a vacillating violet and get left up on the shelf! Anything can happen if you let it— including a sellout of Mary Poppins (the non-dinner-show matinees are already sold out!) and you wouldn’t want to be caught without a ticket to the shows where seats remain. It’s an astonishing production— revitalized and refreshed but still the classic Mary Poppins that everyone loves. St. Demetrios’ Suburban Players have reached for the stars— and they’ve landed in the heavens with this spectacular show. Don’t miss it!
Running Time: 2 hours and 50 minutes with one intermission
Mary Poppins plays February 10th through February 19th 2023 with the Suburban Players housed at the Saint Demetrios Greek Orthodox Church in the Hermes Rafailides Center— 2504 Cub Hill Road in Carney, MD. For tickets please call (443) 390-2981 or email Suburbanplayers2504@gmail.com
To read the interview with Bella Comotto and Elijah Tsakalos, click here.
To read the interview with Erin, Evelyn, Maeve, and Nora Acerno, click here.
To read the interview with Tammy Oppel, click here.
To read the interview with Suzi Eldridge & Jim Gross, click here.
To read the interview with Gary Dieter & Katie Sheldon, click here.
*there are no 105-year-olds…that we know of…currently in this production of Mary Poppins
